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Books on the topic 'American music in the 1930s'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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1

American popular song lyricists oral histories, 1920s-1960s. Jefferson, N.C: McFarland & Co., 2012.

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2

Whorf, Michael. American popular song composers: Oral histories, 1920s-1950s. Jefferson, N.C: McFarland, 2012.

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3

American popular song composers: Oral histories, 1920s-1950s. Jefferson, N.C: McFarland, 2012.

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4

Jazz griots: Music as history in the 1960s African American poem. Lanham, Md: Lexington Books, 2012.

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5

1942-, Wright Josephine, ed. Images: Iconography of music in African-American culture (1770s-1920s). New York: Garland Pub., 2000.

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6

Crisp, Simon. Endless trip: A promenade through North American rock, pop and folk of the 1960s and 1970s. London: Foxcote Books, 2010.

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7

Rayno, Don. Paul Whiteman: Pioneer in American music ; vol 1 : 1890-1930. Lanham, MD: Scarecrow Press, 2003.

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8

Warner, Jay. American singing groups: A history from 1940s to today. Milwaukee: Hal Leonard Corp., 2006.

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9

Gene, Jones, ed. Spreadin' rhythm around: Black popular songwriters, 1880-1930. New York: Schirmer Books, 1998.

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10

Battistini, Pete. American top 40 with Casey Kasem: The 1980s. Bloomington, IN: AuthorHouse, 2010.

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11

(Organization), People's Songs, ed. My song is my weapon: People's Songs, American communism, and the politics of culture, 1930-1950. Urbana: University of Illinois Press, 1989.

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12

William, Barlow. From swing to soul: An illustrated history of African American popular music from 1930 to 1960. Washington, D.C: Elliott & Clark Pub., 1994.

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13

Oja, Carol J. Making music modern: New York in the 1920s. New York: Oxford University Press, 2000.

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14

Morgan, Thomas L. From cakewalks to concert halls: An illustrated history of African American popular music from 1895 to 1930. Washington, D.C: Elliott & Clark Pub., 1992.

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15

Merlis, Bob. Heart & soul: A celebration of Black music style in America, 1930-1975. New York: Stewart, Tabori & Chang, 1997.

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16

Davin, Seay, ed. Heart & soul: A celebration of Black music style in America, 1930-1975. New York: Billboard Books, 2002.

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17

Recording the 'thirties: The evolution of the American recording industry, 1930-39. Denver, CO: Mainspring Press, 2011.

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18

Kofsky, Frank. John Coltrane and the jazz revolution of the 1960s. New York: Pathfinder, 1998.

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19

Kofsky, Frank. John Coltrane and the jazz revolution of the 1960s. 2nd ed. New York: Pathfinder, 1998.

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20

Bruce, Kellner, ed. The splendid drunken twenties: Selections from the daybooks, 1922-1930. Urbana: University of Illinois Press, 2003.

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21

Richard, Martin. American ingenuity: Sportswear, 1930s-1970s. New York: Metropolitan Museum of Art, 1998.

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22

Metropolitan Museum of Art (New York, N.Y.), ed. American ingenuity: Sportswear, 1930s-1970s. New York: Metropolitan Museum of Art, 1998.

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23

American culture in the 1930s. Edinburgh: Edinburgh University Press, 2008.

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24

Chelsea on the edge: The adventures of an American theater. Ames: Iowa State University Press, 1991.

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25

Jazz poetry: From the 1920s to the present. Westport, Conn: Greenwood Press, 1997.

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26

Harrison, Daphne Duval. Black pearls: Blues queens of the 1920s. New Brunswick, [N.J.]: Rutgers University Press, 1988.

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27

Bill, Willard, ed. Let's dance: Popular music in the 1930s. New York: Oxford University Press, 1998.

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28

The American 1930s: A literary history. Cambridge [England]: Cambridge University Press, 2009.

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29

Emergency broadcasting and 1930s American radio. Philadelphia: Temple University Press, 2003.

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30

1944-, Leitch Vincent B., ed. American literary criticism since the 1930s. 2nd ed. New York: Routledge, 2009.

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31

Clurman, Harold. Famous American plays of the 1930s. New York, NY: Dell, 1988.

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32

A Belfast girl: A 1960s American folk music legend weaves stories of a childhood on "the singing streets" of Ireland, marriage in Scotland, and arrival in America. Marion, Michigan: Parkhurst Brothers Publishers, 2013.

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33

Palomino, Pablo. The Invention of Latin American Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190687403.001.0001.

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This book reconstructs the transnational history of the category of Latin American music during the first half of the twentieth century, from a longer perspective that begins in the nineteenth century and extends the narrative until the present. It analyzes intellectual, commercial, state, musicological, and diplomatic actors that created and elaborated this category. It shows music as a key field for the dissemination of a cultural idea of Latin America in the 1930s. It studies multiple music-related actors such as intellectuals, musicologists, policymakers, popular artists, radio operators, and diplomats in Argentina, Mexico, Brazil, the United States, and different parts of Europe. It proposes a regionalist approach to Latin American and global history, by showing individual nations as both agents and result of transnational forces—imperial, economic, and ideological. It argues that Latin America is the sedimentation of over two centuries of regionalist projects, and studies the place of music regionalism in that history.
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34

Browner, Tara, and Thomas L. Riis, eds. Rethinking American Music. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.001.0001.

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Only since the 1970s have the variety of American musical styles and sounds have been allowed to stand on their own two feet in the academic world. Recent efforts to place American music-making within new or heretofore neglected contexts are diverse and inevitably shift our consciousness about music’s meaning and impact in culture. This volume contains a series of commentaries or glosses, chapters about American music broadly understood that seek especially to explore four critical factors beyond the the familiar categories defined by repertory or biography alone: the impact of performance; the role of patronage in the creation of musical objects and events; personal identity; and how larger cultural/ethnographic contexts (community values, ethnic markers, and social relations) determine certain musical results. A related concern in many of the chapters is the way music is disseminated within listening communities—how it was made “popular”—and how it continues to exert a lasting influence across the rest of the globe. The topics to be found here are wide ranging and include many genres and perspectives (hymnody, concert music, jazz, country music, hip-hop, Tin Pan Alley, and Broadway song and dance, among other types), but each chapter is focused on specific performers, patrons, works, conditions, or institutions within its cultural context.
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35

Morgan, Stacy I. Frankie and Johnny: Race, Gender, and the Work of African American Folklore in 1930s America. University of Texas Press, 2017.

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36

Frankie and Johnny: Race, Gender, and the Work of African American Folklore in 1930s America. University of Texas Press, 2017.

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37

Depression folk : grassroots music and left-wing politics in 1930s America. University of North Carolina Press, 2016.

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38

Depression folk: Grassroots music and left-wing politics in 1930s America. The University of North Carolina Press, 2016.

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39

Cohen, Ronald D. Depression Folk: Grassroots Music and Left-Wing Politics in 1930s America. University of North Carolina Press, 2016.

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40

Alleyne, Mike. Rhythm Revolution: A Chronological Anthology of American Popular Music - 1960s to 1980s. Cognella Academic Publishing, 2014.

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41

Alleyne, Mike. Rhythm Revolution: A Chronological Anthology of American Popular Music - 1960s to 1980s. Cognella Academic Publishing, 2013.

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42

Marovich, Robert M. Sacred Music in Transition. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0003.

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This chapter examines Chicago sacred music in a period of transition, focusing on the roles played by Charles Henry Pace and the Pace Jubilee Singers. The Pace Jubilee Singers are a fascinating example of African American sacred music in transition. They were among Chicago's first black religious artists to perform on radio, broadcasting during the 1920s and early 1930s over radio station WCBN and megawatt stations WLS and WGN. The group was also among the first mixed jubilee ensembles to feature a female soloist prominently in the person of Hattie Parker. This chapter first provides a historical background on Pace and his formation of the Pace Jubilee Singers before discussing the group's recordings, including sessions with Victor Records, and Parker's contribution to the group. It also considers the Pace Jubilee Singers' radio appearances following the end of their recording career, as well as the careers of Parker and Pace after the group's disbandment. Pace continued writing and publishing sacred music, including gospel songs, in Pittsburgh. He died on December 16, 1963.
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43

Shearon, Stephen. The Sacred in Country Music. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.26.

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The key to understanding the vast majority of sacred expression in country music is understanding the gospel song and the religious developments for which it was the primary musical outlet. By the time the country market was established, gospel song had undergone a century or more of development. Changes in sacred country music, moreover, tracked the changes in gospel song. The earliest songs were northern product of the sort produced by Fanny Crosby. As southern production grew, songs such as those by Albert E. Brumley were added. And country artists themselves wrote new gospel songs. In the 1950s, country artists began incorporating gospel songs written by African Americans such as Thomas A. Dorsey. From the late 1960s, contemporary Christian songs and semisacred ballads were added to the mix. But country music also includes non-Christian sacred expression. John Anderson’s “Seminole Wind” evokes the animism of Native American cultures.
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44

Slobin, Mark. Motor City Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882082.001.0001.

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The book combines memoir, interview, and archival sources to survey the musical life of the author’s hometown, Detroit, in his youth during the city’s heyday, 1940s–1960s. After an opening chapter on the formation of personal musical identity, the focus shifts to the formative role of the public school system in educating and shaping the careers of waves of highly talented youth, many of whom became leading figures in African American and classical music nationally. Next comes a panorama of the “neighborhood” subcultural musics of European, southern white, and southern black immigrants to Detroit, followed up by a close-up of the Jewish community’s special case. “Merging Traffic” considers the way that industry, labor, the counterculture, Motown, and the media brought many streams of music together. A final retrospective chapter cites the work of Detroit writers and artists who, like the author, have been looking back at the city’s impact on their work. This is the first-ever comprehensive survey of the musical life of any American city in a given time period.
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45

Marovich, Robert M. “If It’s in Music—We Have It”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0010.

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This chapter examines the roles played by Thomas A. Dorsey, Roberta Martin, Theodore R.Frye, Kenneth Morris, and Sallie Martin in transforming Bronzeville into the “fertile crescent” of gospel sheet music publishing, sales, and distribution for the entire nation during the period 1945–1960. As gospel music became more accepted in the church, the demand for new songs and arrangements increased. If the gospelization of spirituals and hymns represented the 1930s, the 1940s represented a renaissance of more sophisticated gospel songwriting. The new gospel songs were prayers and sermonettes set to music, with the vernacular lyrics speaking the language and articulating the worldview of disenfranchised African Americans throughout the nation. This chapter considers the gospel songwriting, publishing and composition, and performing of Dorsey et al. that led to the establishment of what historians call the Chicago School of Gospel. It also looks at the contributions of the Roberta Martin Studio of Music, Martin and Morris Music Studio, and Theodore R. Frye Publishers.
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46

Gough, Peter, and Peggy Seeger. “Ballad for Americans”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039041.003.0007.

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This chapter argues that overtly political themes never dominated Federal One productions. Yet, some of the beliefs espoused by the 1930s Left took root and found appeal among subsequent generations of Americans. Much as pre-World War I bohemians saw many of their ideas absorbed into the mass culture of the 1920s, so did the goals and convictions of the 1930s Left enter mainstream social movements of the post-World War II period. These causes found inspiration to varying degrees in musical expression, as well as particular elements of the radical political activism of the 1930s. Though notably less contentious than other WPA cultural productions, the Federal Music programs in the regional West should also be viewed as harbingers of these later social developments.
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47

Cohen, Ronald D., and Rachel Clare Donaldson, eds. Blacklisting and Folk Developments, 1953–1954. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038518.003.0004.

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This chapter begins with a focus on Harry Smith (1923–1991), a beatnik eccentric artist, and experimental filmmaker who was responsible for the six-LP set called the Anthology of American Folk Music. The set featured commercial recordings of traditional rural musicians that had been made in the South during the 1920s and 1930s. The discussion then turns to the folk revival in Great Britain by the mid-1950s. While the Communist Party members represented one group contributing to the growing popularity of folk music and drew inspiration from the American performers such as the Almanac Singers, People's Songs, and the Weavers, folk music also began reaching a wider audience through the clubs, concert halls, and recording studios.
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48

Spalding, Susan Eike. Blue Ridge Breakdown. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038549.003.0004.

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This chapter examines African American square dancing traditions in Martinsville, Henry County, Southwest Virginia. It tells the story of African American dances in Martinsville from the perspective of four people who were central to it through much of the twentieth century: fiddler Leonard Bowles and his wife, dancer Naomi Bowles, and caller Ernest Brooks and his wife. The chapter begins with a historical background on African American old time dancing in the Appalachian region, along with Martinsville and its black community. It then considers the old breakdown, first in the 1930s and 1940s and then in 1978, as well as its connection to the agrarian lifestyle in which it thrived. It also discusses the relationship between music and dance in Martinsville, the decline of the old breakdown, and the factors that brought new life to old time dancing during the 1970s and 1980s and beyond. The chapter concludes with an assessment of the future prospects for African American dancing traditions, including the old breakdown, in Martinsville.
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49

Smith, Thérèse. Music and Religiosity among African American Fundamentalist Christians. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.15.

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This chapter discusses the relationship of a church to its surrounding secular context. It outlines the relationship of an African American Missionary Baptist Church congregation to its surrounding community in Mississippi in the 1980s, drawing on the insider binary of “saint-sinner”; points to the strong role that individual scriptural interpretation and performance play in this church; and traces several church performances that show the nuanced and flexible nature of the boundary between “saint” and “sinner.” While the dominant local popular music, blues, is generally categorized as “sinner’s” music, it is sometimes allowed for listening to (but not performance) because of a nuanced understanding of the relationship of listening and performance to the Christian believer. In addition, knowledge of blues and other popular genres is important for believers in interpreting sermons, in which speech slides into musical performance and references these genres as symbols to narrate the “saint-sinner” binary.
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50

Roots of the Revival: American and British Folk Music in the 1950s. University of Illinois Press, 2014.

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